MUSIC  LIB. 

MT 

930 

B193s          BALDWIN 


STUDIES  IN  WRITTEN  WORK 
IN  MUSIC 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


Written  Work  in  Music 


Ele 


mentary  ScV 


RALPH 


STUDIES 

IN 

WRITTEN   WORK   IN   MUSIC 

FOR 

ELEMENTARY    SCHOOLS 


BY 

RALPH    L.  BALDWIN 

SUPERVISOR   OF   MUSIC   AT   THE   PUBLIC   HIGH,   THE    BROWN, 

SECOND  NORTH,  WEST   MIDDLE,  AND  ARSENAL 

SCHOOLS,   HARTFORD,   CONN. 


COPYRIGHT,  1906 

BY 
RALPH    L.  BALDWIN 


Stanbopc  press 

M.    OIL«OH     COMPANY 

BOSTON        US*. 


Music 
Library. 


=150 


Studies   in    Written   Work  in   Music 


THE  AIM 

It  is  the  purpose  of  the  following  studies  in  written  work  in  music, 
to  assist  the  pupil  to  acquire, 

First,  a  thorough  mastery  of  the  fundamental  principles  of  tune, 
time  and  notation. 

Second,  the  ability  to  think  in  tone. 

Third,  a  knowledge  of  form  in  melody  and  rhythm  and  of  the 
smaller  forms  of  music  composition. 

Fourth,  the  ability  to  appreciate  emotional  moods  and  to  express 
them  in  music. 

Fifth,  a  knowledge  of  musical  history  and"  biography,  and  the  ability 
to  analyze  a  musical  work  as  to  its  emotional  mood,  form  and  national 
characteristics. 

Thus  written  work  will  aid  in  acquiring  facility  and  accuracy  in 
sight  reading,  better  interpretation  of  songs,  keener  and  more  intelli- 
gent appreciation  of  music  that  is  heard.  It  will  aid  in  awakening  and 
stimulating  ambition  for  the  expression  of  emotion  in  music, —  creative 
work, — and  in  the  devolpment  of  the  emotional  and  esthetic  nature, 
thereby  promoting  pleasure,  culture  and  character. 

THE   ARRANGEMENT 

The  subject  matter  of  the  following  studies  is  arranged  under  these 
general  headings  : 

I.     Application  of  Principles. 
II.     Ear  Training. 

III.  Form  in  Melody  and  Rhythm. 

IV.  Original  Work. 

V.     Music  Analysis  and  Biography. 


1S85434 


2  STUDIES   IN   WRITTEN   WORK   IN   MUSIC 

Under  the  first  heading,  questions  are  given  which  relate  to  the 
principles  taught  in  each  grade  for  application  in  written  form,  either  as 
work  in  language  or  in  musical  symbols.  These  questions  may  be  used 
for  drill  or  test  purposes. 

Studies  under  "  Ear  Training"  are  designed  to  assist  in  teaching  the 
pupil  to  think  in  tone  and  to  establish  a  close  mental  relationship  be- 
tween the  sound  and  its  symbol. 

Under  "Form  in  Melody  and  Rhythm,"  it  is  the  purpose  to  lead  from 
the  study  of  the  simplest  form  of  melody  in  two  and  four  measure 
phrases,  with  correct  use  of  scale  and  chromatic  tones,  and  the  simpler 
rhythms,  to  the  writing  of  simple  melodies  in  song  form  and  the  older 
dance  forms  which  are  the  foundations  of  all  the  greater  forms  in  music. 

Attention  is  given  to  the  appreciation  of  national  characteristics  in 
melody. 

Under  "Original  Work"  is  introduced  the  study  of  primitive 
emotions  and  the  expression  of  these  moods  in  music.  As  a  means  to 
this  result,  the  musical  setting  of  poetic  lines  and  stanzas  is  suggested. 

Under  "Analysis  and  Biography  "  pupils  are  expected  to  give,  in 
written  form,  simple  analyses  of  musical  works  with  which  they  are 
familiar,  describing  the  emotional  characteristics,  the  form  and  the 
general  character  of  the  composition. 

Brief  biographies  of  the  most  famous  composers  should  be  written. 

GENERAL   SUGGESTIONS 

Time  for  written  work  will  be  found  during  the  period  of  individual 
singing  or,  in  general,  whenever  the  work  of  the  teacher  is  such  that  it 
does  not  require  the  attention  of  the  entire  class. 

The  form  of  questions  should  be  such  that  the  marking  of  answers 
may  be  a  class  exercise.  Pupils  may  be  instructed  to  correct  their  own 
work,  thereby  avoiding,  in  large  measure,  the  need  of  the  correction  of 
individual  papers  by  the  teacher. 

All  the  work  included  in  the  following  studies  can  be  done  by  the 
pupils  without  the  attention  of  the  teacher,  excepting  that  under  "  Ear 
Training."  These  exercises  will  require  simultaneous  work  of  the 
teacher  and  the  class. 

Care  should  be  taken  that  all  written  work  be  accurate,  neat  and  in 
good  form. 

Teachers  will  find  it  convenient  to  correlate  written  work  in  music 
with  other  subjects.  Much  of  the  work  is  correlated  with  language, 
spelling  and  writing. 


STUDIES    IN   WRITTEN   WORK   IN    MUSIC  3 

Technical  terms  and  uncommon  words  should  be  introduced  into 
the  spelling  lesson. 

Grade  V,  In  Time,  No.  2,  work  can  be  correlated  with  arithmetic 
under  addition  and  subtraction  of  fractions. 

Grades  V-IX,  under  "  Original  Writing  "  study  of  rhythmic  setting 
of  poetic  lines  and  stanzas  can  be  correlated  with  poetic  rhythm  and 
the  scanning  of  verse. 

Grades  VI-IX,  under  "Original  Writing,"  the  study  of  emotional 
mood  and  the  setting  of  poetic  lines  and  stanzas  can  be  correlated 
with  language. 

Grades  VIII-IX,  under  "  Form  in  Melody,"  the  study  of  national 
characteristics  in  melody  can  be  correlated  with  geography  and  history. 
The  study  of  history  and  biography  in  music  can  be  correlated  with 
language  and  history. 

Grade  IX.  Stories  of  operas  and  oratorios  can  be  correlated  with 
language, 

GRADE   I 

I.     APPLICATION    OF    PRINCIPLES 

1.  Copy  a  four-measure  exercise  with  quarter,  half,  dotted  half  or 
whole  notes.     (Use    prepared    paper   with   wide    staff  ruling  at  first. 
Later,  pupils  may  prepare  the  staff.) 

2.  Scale  writing,  indicating  "Do  "  with  check  mark. 

II.     EAR   TRAINING 

i.  Write  simple  scale  progressions  from  dictation. 

GRADE   II 
I.     APPLICATION   OF   PRINCIPLES. 

1.  Copy  individual  exercises. 

2.  Scale  writing. 

3.  Write  exercises  from  written  number  dictation. 

For  example:  " Do "  on  first  line  :  1353154,323-16  —  5)1 [| 

To  be  written  thus : 


' 


4.  Drill  in  writing  pitch  names  of  lines  and  spaces : 

a.  Use  pitch  names  for  indicating   where    "Do"  is   found  for 
such  work  as  No.  3. 


4  STUDIES   IN   WRITTEN    WORK    IN    MUSIC 

b.  Write  letters  on  the  staff  lines  and  spaces. 

c.  Write  letters  under  notes  of  a  copied  exercise. 

5.  Work    in    Language.      Describe    the    first  and   second   time 
motions. 

II.     EAR   TRAINING 

1.  Write  simple  scale  progressions  from  dictation. 

2.  Write  time  motions  in  simple  combinations  from  dictation. 


GRADE   III 
I.     APPLICATION   OF    PRINCIPLES 

1.  Copy  individual  exercises. 

2.  Write  exercises  from  written  number  dictation. 

For  example :  «  Do  "  on  F.      3.  4  |  5  8  |  76  54  j  3  -  |  2.  3  |  4  7  |  2  -  | 
i -II 

To  be  written  thus  : 


3.  Drill  in  writing  pitch  names  of  lines  and  spaces: 

a.  Write  letters  on  staff  lines  and  spaces. 

b.  Write  letters  under  notes  of  copied  exercises. 

4.  Application  of  "Finding  '  Do  '  from  Signature." 

b,     ift  =  G  =  2d  line. 
i|?  =  F  =  ist  space. 
3$  =  A  =  2d  space. 


a.  2%  =  D. 

2b  =  B. 

etc. 


'•  G  -  ij)  - 


etc. 


3(7  =-  E  =  ist  line. 

etc. 
d.     il  =  E=4#=3b 

2  s  =  A  =  3#  =  4 
etc. 


5.  Work  in  Language:      Describe  each  of    the  first  three    time 
motions. 

II.     EAR   TRAINING 

1.  Write  simple  scale  progressions  from  dictation. 

2.  Write  time  motions  in  simple  combinations  from  dictation. 


GRADE    IV 
I.     APPLICATION    OF    PRINCIPLES 

I.     In  General. 

a.  Copy  and  transpose  individual  exercises.      That  is,  rewrite 
in  some  key  other  than  the  original. 

b.  Write  songs  from  memory. 
In  Tune: 

1.  Review  I.  No.  4,  Grade  III. 

2.  Principle.  "  Names  of  Keys." 

a.  2#  =  D.  b.  B  =  5# 

St>  =  Dl?  Bt?  =  2|? 

etc.  etc. 

e.  2\>  =  Bi?  =  3  1 
3#=  A  =  2  s 

etc. 

d.  Dictate  the  key  and  tonic  chord. 
Thus  :  Key  of  E.  B{? 


I 


To  be  written  thus  : 

jftu  . 


g> 1 p- 

(  Position  of  sharps  and  flats  need  not  be  regarded  at  this  time.) 
3.  Work  in  Language. 

a.  Write  rules  for  naming  the  keys. 

b.  What  letters  have  the  word  "  sharp"  added  in  naming  the 
keys? 

c.  To  what  letters  is  the  word  "  flat "  added  ? 
In  Time. 

i.  Write  exercises  from  written  number  dictation,  using  the  first 
three  time  motions.  If  time  allows,  and  if  it  is  desired,  the  beat 
values  of  the  time  motions  and  the  time  signature  may  be  explained, 
and  written  drill  in  time  can  then  be  given  thus : — complete  the  follow- 
ing: 


|J.    /        J 


6  STUDIES   IN   WRITTEN   WORK   IN    MUSIC 

Or  write  four  measures  with  |  for  the  time  signature  and  use  the 
three  motions. 
Work  in  Language. 

Describe  each  of  the  first  three  time  motions. 


II.     EAR   TRAINING 

1.  Write  simple  scale  and  chromatic  progressions  from  dictation. 

2.  Write  time  motions  in  simple  combinations  from  dictation. 

3.  Memorize  and  write  a  short  exercise  from  dictation. 

III.     FORM    IN    MELODY  AND    RHYTHM 

i .  Complete  the  following  melody : 


LT 


II 


(If  beat  values  of  the  time  motions  and  the  time  signatures  have 
been  taught,  the  time  dictation  may  be  omitted  if  desired.) 

Other  examples  may  be  taken  from  exercises  or  songs  with  which 
pupils  are  unfamiliar. 

2.  Study  of  Chromatic  tones  represented  with  sharps. 
a.  Proper  resolution. 

Complete  the  following  exercise  : 


1 


r 

b.  Proper  introduction  of  chromatic  tones. 

Complete  the  following  exercise,  using  a  quarter  note  and 
sharp  to  represent  a  chromatic  tone  in  each  case. 


r        r      r      r 

V.     MUSIC   ANALYSIS    AND    BIOGRAPHY 

i.  Write  names  and  composers  of  known  songs. 


STUDIES    IN   WRITTEN    WORK   IN    MUSIC  j 

GRADE   V 
I.     APPLICATION    OF   PRINCIPLES 

In  General. 

1.  Copy  and  transpose  individual  exercises. 

2.  Write  songs  from  memory. 
In  Tune. 

1.  Key  Names. 

a.  Review  Grade  IV  in  Tune  No.  2. 

b.  Work  in  Language. 

Rule  for  naming  keys  with  sharps  and  flats. 
What  letters  have  the  word  "sharp  "  added  ? 
What  letters  have  the  word  "  flat  "  added  ? 

2.  Chromatics.     Work  in  Language. 

a.  Define  chromatic  tones. 

b.  Write  the  rule  for  naming  chromatic  tones  when  represented 
with  sharps. 

When  represented  with  flats. 

c.  What  does  a  sharp  before  a  note  represent  ? 
Aflat? 

d.  How  many  notes  does  a  chromatic  character  affect  ? 
In  Time. 

1.  Work  in  Language. 

Describe  each  of  the  first  three  time  motions. 

2.  The  Arithmetic  of  music. 

a.  Problems  in  addition. 

Add  and  give  answers  in  one  note : 

b.  Rewrite  the  time  motions  with  various  units. 
Thus: 

Note  equals  2nd  Time  3rd  Note  Note  Note 

one  beat.  Motion.  Motion.  2  beats.  3  beats.  4  beats. 


rn 
*   « 

'.    N 

J 

J. 

J  J 

j.j 

* 

0  • 

ft 

,N.  / 

J 

1 

= 

£    ^ 

etc. 

etc. 

J 


J     , . 

(This  may  also  be  given  as  language  work.  ) 


(2 


8 


STUDIES   IN   WRITTEN   WORK    IN   MUSIC 


3.  Common  Time. 

a.  Work  in  language.     What  are  the  various  kinds  of  measure 
called  ? 

b.  Work    in    language.      Explain   the   meaning   of    given  time 
signatures. 

c.  Write  time  signature  for  given  measures. 

d.  Write  measures  for  given  time  signatures. 

II.     EAR   TRAINING 

1.  Write  scale  and  chromatic  progressions  from  dictation. 

2.  Write  measures  of  time  from  dictation. 

3.  Write  short  exercises  from  dictation. 

III.     FORM    IN    MELODY   AND    RHYTHM 

i.  To  develop  sense  of  proper  melody  and  rhythm. 
a.  Complete  the  following : 


g£ 


^i 


II 


II 


e 


Other  examples  may  be  taken  from  songs  or  exercises  with  which 
pupils  are  unfamiliar. 

2.  Resolution  and  introduction  of  chromatic  tones  in  incomplete 
melodies. 

a.  Review  Grade  IV,  III  No.  2,  a  and  b,  using  sharps  to  rep- 
resent chromatic  tones. 

b.  Resolution  of  chromatic  tones  using  flats  for  the  representa- 
tion. 

Complete  the  following  melody : 


i 


Introduction  of  chromatic  tones  represented  with  flats. 


STUDIES    IN   WRITTEN   WORK   IN    MUSIC 
Complete  the  following  melody: 


1 


IV.     ORIGINAL   WRITING 

a.  Write  original  two  or  four-measure  phrases. 

Melody  should  begin  on    1,3   or  5,  and    end   on  i,  3  or  5, 
preferably  i. 

b.  Rhythmic  expression  in  notes   of    single   lines  of   verse   that 
begin  with  an  accented  syllable. 

For  example : 

Gent  -  ly          rocks    my          light        ca      -      noe. 

I        I      I     I        ill  ! 

\4\44\4  4 


2 

4 


2 

or    4 


2 

or    4 


3 

or    4 


J. 


N 

«      « 


nr*  nn 


n 


' 


J        *    !       I     J  f"H 

4'      4    4  4        4        rf    * 


V.     MUSIC   ANALYSIS   AND    BIOGRAPHY 

1.  Define  terms  of  tempo  and  expression. 

2.  Name  known  songs  and  composers. 

3.  Simple  description  of  nature  and  form  of  known  songs. 

GRADE   VI 
I.     APPLICATION   OF   PRINCIPLES 

In  Tune. 

1.  Names  of  keys.     Thus  : 

Two  sharps  equals  what  key  ?     i  sharp  equals  what  signature  ? 

2.  Position  of  sharps  and  flats  in  signature.     Write  signatures  for 
given  keys. 

3.  Chromatic  Tones.     Work  in  Language. 

a.  Define  chromatic  tones. 

b.  There  are  how  many  tones  ?     How  many  names  ? 
c   Upon  what  does  the  name  depend  ? 


I0  STUDIES   IN   WRITTEN   WORK    IN    MUSIC 

d.  How  are  chromatic  tones  named  when  represented  with  sharps  ? 

e.  How  are  chromatic  tones  named  when  represented  with  flats  ? 
4.  Use  of  chromatic  characters  in  writing.     Work  in  language. 

a.  When  is  a  sharp  used  to  represent  chromatic  tones  ? 

b.  When  is  a  double  sharp  used  to  represent  chromatic  tones  ? 

c.  When  is  a  flat  used  to  represent  chromatic  tones  ? 

d.  When  is  a  double  flat  used  to  represent  chromatic  tones  ? 

e.  When  is  a  cancel  used  to  represent  a  chromatic  tone  a  half-step 
above  a  scale  tone  ? 

f.  When  is  it  used  to  represent  a  chromatic  tone  a  half  step  below 
a  scale  tone  ? 

Work  in  Notation. 

a.  Place  before  each  of  the  following  notes  the  character  to  rep- 
resent the  chromatic  tone  a  half-step  above  it : 


=*  —  ' 

1  1 

1 

m 

—  i 

—  n— 

1 

b.  Similarly, —  a  half-step  below. 

*— 


c.  In  the  key  of  E,  write  the  chromatic  scale  ascending  and  de- 
scending. 

d.  In  the  key  of  D  flat,  write  the  chromatic  scale  ascending  and 
descending. 

5.  Use  of  characters  to  cancel  the  effect  of  chromatic  characters. 

a.  How  many  notes  are  affected  by  a  chromatic  character  ? 

b.  What  character  is  used  to  cancel  a  sharp  or  flat  ? 

c.  What  character  is  used  to  cancel  a  double  sharp  ? 

d.  What  character  is  used  to  cancel  a  double  flat  ? 

e.  If  a  cancel  is  used  to  represent  a  chromatic  tone,  how  is  the 
scale  tone  restored  ? 

In  Time. 

1 .  Describe  each  of  the  seven  time  motions. 

2.  Rewrite  the  time  motions  with  various  units. 

3.  a.  Why  is  the  figure  3  used  with  a  triplet  ? 

b.  What  one  note  takes  the  place  of  the  following  ? 


STUDIES   IN   WRITTEN   WORK   IN   MUSIC 


II 


4.  Review  common  time. 

a.  What  are  the  various  kinds  of  measure  called  ? 

b.  Explain  given  time  signatures. 

c.  Give  time  signatures  for  given  measures. 

d.  Write  measures  for  given  time  signatures. 

e.  Measure  each  of  the  following : 

3       IN 

8   *' 


1 

rs       • 

^       IS         f« 

i 

K 

|! 

•    P 

=1 

j. 

J   J     J 

J 

J 

j 

J 

j 

J. 


J  J  J  J 

5.  Compound  time. 

a.  Why  is  compound  time  used  ? 

b.  What  is  found  on  each  beat  ? 

c.  What  are  the  various  kinds  of  measure  ? 

d.  Explain  given  compound  time  signatures  ? 

e.  Give  time  signatures  for  various  compound  measures. 

f.  Write  measures  for  various  compound  time  signatures. 

g.  How  may  common  and  compound  time  signatures  be  distin- 
guished ? 

II.     EAR   TRAINING 

1.  Write  scale  and  chromatic  progressions  from  dictation. 

2.  Write  measures  of  time  from  dictation. 

3.  Write  four-measure  phrases  from  dictation. 

III.     FORM    IN    MELODY   AND   RHYTHM 

i.  To  develop  sense  of  proper  melody  and  rhythm. 
a.  Complete  the  following  melodies  : 


12 


STUDIES    IN    WRITTEN   WORK   IN    MUSIC 


/T  h^ 

-; 


m 


mt 


x*- 


sp 


Other  examples  may  be  taken  from  songs  or  exercises  with  which 
pupils  are  unfamiliar. 

IV.     ORIGINAL   WORK 

i.  Rhythmic  expression  in  notes,  of  single  lines  of  verse  beginning 
on  an  unaccented  syllable. 
For  example  : 

The         wind      blows       wild         and  free. 

2      J          i         J      I     i         J      I     i         I    J       II 

A       4  4  4        \    4  *        \    4  \    * 


3 
4 

J 

J     J 

II            J_              J 

2 

rs 

r-s  I—, 

n   'rr     j      K|  j 

4 

4 

•    •  •  • 

ILJ*     I/        'Ca/i/' 

6 

8 

f 

1               !\ 

J     /   J.  J 

The       waves        are  .     danc    -    ing          fast       and        bright. 

6 

8 

f 

J    /  j    / 

J    /  j 

3 
4 

/ 

«  •        « 

/  / 

/.    ;  J. 

3 
4 

* 

/.    J5 

J    j 

/.    ^  J. 

4 

4 

J 

J.    / 

J        1 

•        4 

J.   /  J 

STUDIES    IN   WRITTEN    WORK   IN    MUSIC  I3 

2.  The  study  of  rhythmic  and  melodic  expression  of  primitive  emo- 
tional moods,  such  as  joy,  sadness,  spring,  autumn,  winter,  skating,  boat- 
ing, swinging,  hunting,  night,  morning,  repose,  war,  patriotism. 

Rhythmic  and  melodic  setting  of  lines  of  verse. 

For  example : 

"  The  world  is  peacefully  sleeping." 

"  The  sun  is  bright,  the  day  is  fair, 
The  hunters'  bugles  stir  the  air." 

"  With  waving  of  banners  and  beating  of  drums, 
With  sounding  of  trumpet  the  general  comes." 

"  Our  flag  is  floating  in  the  breeze, 
Our  hearts  are  full  of  cheer." 

A  wind  came  up  out  of  the  sea, 
And  said,  "  O  mists,  make  room  for  me  !  " 
It  hailed  the  ships,  and  cried,  "  Sail  on, 
Ye  mariners,  the  night  is  gone." 

V.     MUSIC    ANALYSIS   AND    BIOGRAPHY 

1.  Define  musical  terms. 

2.  Simple  analysis  of  known  songs  as  to  mood  and  form. 

3.  Biographical  knowledge  of  the  composers  of  known  songs. 

GRADE   VII 

i.     APPLICATION   OF   PRINCIPLES 
Thoro  review  of  Grade  VI,  I. 

II.     EAR    TRAINING 
i.  Write  short  phrases  from  dictation. 

III.    FORM    IN    MELODY   AND    RHYTHM. 

a.  The  study  of  song,  aria  or  rondo  form,  introducing  the  study  of 
the  related  major  keys  of  the  dominant  and  subdominant.  Imitative 
writing.  For  example, —  song  form : 

ist  Theme. 


m 


:zL 


FINK. 


STUDIES    IN   WRITTEN    WORK   IN    MUSIC 


2d  Theme. 


5 

--C-^-i 

T  —  ^  —  T~ 

=^=^= 

=3MI 

Hence,  simple  song  of  aria  form  consists  of  a  theme,  a  second  theme 
in  the  key  of  the  dominant,  the  first  theme  repeated. 

NOTE  :  Many  of  the  common  hymn  tunes  are  in  song  form,  for  example,  Dykes' 
"  Holy,  Holy,  Holy,"  and  "  Ein  Feste  Burg." 

b.  The  study  of  the  old  dance  forms,  the  waltz,  minuet,  polka  and 
gavotte. 

Imitative  writing. 

The  waltz  :  a  moderately  slow  dance  in  3  measure,  consisting  of  an 
introduction  and  four  or  five  numbers  or  movements,  the  movements  in 
closely  related  keys  or  introduced  by  short  modulatory  passages.  Each 
movement  is  usually  in  simple  song  form. 


A  waltz  movement  or  number  : 


FINE. 


x  ft  ' 

4fcl7  

(2-S-- 

—  *  

f=f- 

<& 

HI  — 

h.  1 

^~ 

• 

=d= 

N 

j 

—  P 

±hJ-  ;l^~ig 


For  example  of  waltz  form  see  "  The  Beautiful  Blue  Danube  "  and 
"Wine,  Woman  and  Song"  Johannes  Strauss,  "Estudiantina  "  by  P. 
Lacome  and  waltzes  by  Walteuful. 

The  minuet, —  a  slow  stately  dance  in  3  measure,  consisting  of  a 
first  section  in  song  form,  a  second  section  called  "  Trio  "  usually  in  the 
subdominant  key  and  the  first  section  repeated. 

A  minuet : 


STUDIES   IN   WRITTEN   WORK   IN    MUSIC  15 

FINE. 


Omit  zd  time. 


n- 


:SEE* 


D.C. 


Trio. 


U2=t 


Minuet.  D.C. 


m+±±± 


The  polka, —  a  lively  dance  in  2  measure,  the  form  similar  to  that 
of  the  minuet. 


A  polka: 


Trio. 


Polka.  D.C. 


The  gavotte, —  a  stately  dance  in  *  measure,  beginning  on  the  third 
beat,  in  form  similar  to  that  of  the  minuet. 


STUDIES    IN   WRITTEN    WORK   IN    MUSIC 
A  gavotte : 


^^**  D.C. 


For  example  of   gavotte,  see  Handel's  Gavotte  in  B  flat,  Gavotte 
from  Mignon,  Ambroise  Thomas. 

IV.     ORIGINAL   WRITING 

i.  Work  of  Grade  VI,  IV  No.  2,  reviewed  and  extended. 
Rhythmic  and  melodic  setting  of  poetic  lines  of  verse  such  as  the 
following : 

"  My  good  blade  carves  the  casques  of  men, 

My  tough  lance  thrusteth  sure  : 
My  strength  is  as  the  strength  of  ten, 

Because  my  heart  is  pure." 

"  The  birds  will  soon  come  back  again 
And  build  their  nests  in  the  trees." 

«'  Faintly  as  tolls  the  evening  chime 

Our  voices  keep  tune  and  our  oars  keep  time," 

"  A  wet  sheet  and  a  flowing  sea, 

A  wind  that  follows  fast 
And  fills  the  white  and  rustling  sail 

And  bends  before  the  mast." 

V.     MUSIC   ANALYSIS   AND    BIOGRAPHY 

1.  Define  terms  of  tempo  and  expression. 

2.  Analysis  of  known  songs  as  to  mood  and  form. 

3.  Biographical  knowledge  of  a  few  composers  of  known  songs,  for 
example,  Handel,  Haydn,  Beethoven,  Schubert  and  Mendelssohn. 


STUDIES   IN   WRITTEN    WORK   IN    MUSIC  17 

GRADE    VIII 

I.     APPLICATION    OF    PRINCIPLES 

1.  Review  I,  Grade  VI. 

2.  New  Principles. 

a.  Write  key  signatures  on  the  bass  staff. 

b.  Write  on  staff  the  compass  of  eighth  Grade  voices :  soprano, 
alto,  alto-tenor  and  bass. 

c.  Write  the  alto-tenor  part  of  a  song  in  three  ways,  low  on  the 
treble  staff,  high  on  the  bass  staff  and  with  a  tenor  clef. 

d.  Write  major  scales  without  signature. 

e.  Write  signatures  for  minor  keys  and  name  minor  keys  from 
signatures,  thus : 

C  minor  =  $  4$  =  Cjf  minor. 

•C    Write  harmonic  and  melodic  minor  scales  with  signature. 

II.     EAR   TRAINING 
i.  Write  short  phrases,  major  or  minor,  from  dictation. 

III.     FORM    IN    MELODY   AND    RHYTHM 

1.  Extended  study  of  song  form  and  old  dance  forms,  see  III,  No.  i 
and  2,  Grade  VII. 

Imitative  writing. 

2.  The  study  of  national  characteristics  in  melody. 
Imitative  writing. 

IV.     ORIGINAL   WRITING 

1.  Write  original  melodies  in  song  form  or  in  old  dance  forms. 

2.  Musical  setting  of  poetic  lines  or  stanzas. 
Extended  study  of  emotional  mood. 

V.     MUSIC   ANALYSIS    AND    BIOGRAPHY 

1.  Define  terms  of  tempo  and  expression. 

2.  Questions  covering  the  text  book  study  of  musical  forms. 

3.  Questions  covering  the  text  book  study  of  biography. 

4.  Analysis  of   mood,  form  and  national  characteristics  of   known 
works. 


18  STUDIES    IN    WRITTEN   WORK   IN    MUSIC 

GRADE    IX 

I.     APPLICATION    OF    PRINCIPLES 

1.  Review  I  complete,  Grade  VIII. 

2.  New  principles. 

a.  Write  general  and  specific  intervals. 

b.  Write  names  of  written  intervals. 

II.     EAR   TRAINING 

1.  Write  phrases,  major  and  minor,  from  dictation. 

2.  Write  intervals  from  the  sound  dictation. 

III.     FORM    IN    MELODY   AND    RHYTHM 

1.  Extended  study  of  the  song  and  dance  forms,  See  III,  Nos.  i  and 
2,  Grade  VII. 

The  March  and  Polonaise  may  be  added. 

In  the  study  of  the  song  form  the  relative  minor  key  should  be  used 
for  the  second  theme. 

If  the  first  theme  is  in  a  minor  key,  the  second  theme  may  be  in  the 
related  major  or  the  dominant  minor. 

Imitative  writing. 

2.  Extended  study  of  national  characteristics  in  melody. 
Imitative  writing. 

IV.     ORIGINAL  WRITING 

i.  Write  original  melodies  in  song  or  old  dance  forms. 
?.  Musical  setting  of  poetic  lines  or  stanzas.     The  study  of  the 
strophe  song  and  art  song  may  be  included. 

V.     MUSIC   ANALYSIS   AND    BIOGRAPHY 

1.  Work  of  V,  Nos.  2  and  3,  Grade  VIII  reviewed  and  extended. 

2.  Write  stories  of  the  more  famous  operas  and  oratorios. 

3.  Describe  the  instruments  of  the  symphonic  orchestra. 

4.  Analysis  as  to  mood,  form  and  national  characteristics  of  known 
works. 


STUDIES    IN    WRITTEN    WORK    IN    MUSIC  ro 

REVIEW   OF   FUNDAMENTAL    PRINCIPLES 

Questions  for  oral  or  written  review  of  the  essential  principles  of 
tune  and  time. 

TUNE   PRINCIPLES 

I.     PITCH    NAMES 

1.  On  the  treble  staff,  where  is  D,  F,  E,  B,  A,  etc.? 

2.  On  the  bass  staff,  where  is  C,  E,  F,  B,  G,  etc.? 

II.     NAMES   OF    KEYS 

1.  In  naming  keys  with  sharps  in  the  signature,  the  word  "sharp  " 
is  added  to  what  letters  ? 

2.  In   naming   keys  with  flats  in   the  signature,  the  word  "flat"  is 
added  to  what  letters  ? 

3.  Name  the  keys  for  two  sharps,  six  sharps,  one  flat,  four  flats,  six 
flats,  etc. 

4.  What  are  the  signatures  for  the  keys  of  G,  A,  B,  E  flat,  D  flat,  etc.? 

III.     POSITION    OF    SHARPS    AND    FLATS    IN    THE    SIGNATURE 

1.  Name  ( or  write  )  the  position  of  each  of  the  seven  sharps. 

2.  Name  ( or  write)  the  position  of  each  of  the  seven  flats. 

IV.     CHROMATIC    TONES   AND   CHARACTERS 

1.  What  are  chromatic  tones  ? 

2.  How  many  are  there  ? 

3.  Upon  what  does  the  syllable  name  of  chromatic  tones  depend  ? 

4.  a.  Give  the  rules  for  the  names  when  sharps  are  used  to  repre- 
sent them. 

b.  When  flats  are  used. 

5.  a.  What  characters  are  used  to  represent  a  chromatic  tone  a  half- 
step  above  a  scale  tone  ? 

b.  A  half-step  below  a  scale  tone  ? 

6.  Under  what  condition  is  each  character  used  ? 

7 .  How  many  notes  are  affected  by  a  chromatic  character  ? 

8.  How  is  the  effect  of  each  chromatic  character  cancelled  ? 


20  STUDIES    IN   WRITTEN   WORK   IN   MUSIC 

TIME   PRINCIPLES 

I.     THE    MOTIONS 

1.  Describe  each  of  the  seven  time  motions. 

2.  a.  How  are  the  motions  represented  when  the  quarter  note  has 
one  beat  ? 

b.  When  an  eighth  note  has  one  beat  ? 

II.     ARITHMETIC 

i.  Problems  in  addition. 

Add,  giving  answers  in  one  note,  in  each  case :  quarter  and  eighth ; 
four  sixteenths ;  two  dotted  quarters ;  dotted  eighth  and  sixteenth ;  etc. 

III.     COMMON   TIME 

1.  What  are  the  various  kinds  of  measure  called  ? 

2.  Explain  given  time  signatures. 

IV.     COMPOUND   TIME 

1.  What  is  found  on  each  beat  in  compound  time  ? 

2.  What  are  the  various  kinds  of  measure  called? 

3.  Explain  given  time  signatures. 

4.  How  can  the  second  and  sixth  time  motions  be  introduced   in 
compound  time  ? 


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